Oil painting is a painting process with pigments with a drying oil medium as a binder. Commonly used drying oils include linseed oil, poppy seed oil, walnut oil, and safflower oil. The choice of oil provides various properties on oil paint, such as the amount of yellowing or drying time. Certain differences, depending on the oil, are also seen on the sheen of paint. An artist may use several different oils in the same painting depending on the specific pigment and the desired effect. The paint itself also develops a certain consistency depending on its medium. The oil can be boiled with resin, such as pine resin or incense, to create valuable varnish for its body and luster.
Although oil paint was first used for Buddhist paintings by Indian and Chinese painters in western Afghanistan sometime between the fifth and tenth centuries, it did not gain popularity until the 15th century. The practice probably migrated west during the Middle Ages. Oil paint eventually became the main medium used to create artwork because its benefits became widely known. The transition began with an early Dutch painting in Northern Europe, and at the peak of Renaissance oil painting techniques almost completely replaced the use of tempera paint in most of Europe.
In recent years, mixed oil paint has become available. Water-soluble powders either engineered or emulsifiers have been added that allow them to be diluted with water rather than paint thinners, and allow, if sufficiently diluted, very fast drying times (1-3 days) when compared to traditional oils (1-3 weeks).
Video Oil painting
Technology
Traditional oil painting techniques often begin with the artist sketching the subject onto a canvas with charcoal or paint thinning. Oil paints are usually mixed with linseed oil, artist-class mineral spirits, or other solvents to make paint thinner, faster or drain slower. (Because these solvents dilute the oil in the paint, they can also be used to clean the paint brushes.) The basic rule of application of oil paints is 'fat on the lean', which means that each additional layer of paint should contain more oil than the layer below for allows proper drying. If each additional layer contains less oil, the last painting will crack and peel. This rule does not guarantee immortality; it is the quality and type of oil that leads to a strong and stable paint film. There are many other media that can be used with oil, including cold wax, resin, and varnish. This additional medium can help painters adjust paint transparency, paint sparkle, density or paint 'body', and paint ability to hold or hide brush strokes. These paint aspects are closely related to the expressive capacity of oil paint.
Traditionally, the paint is transferred to the painting surface using a brush, but there are other methods, including using a pallet and cloth blade. Oil paint remains wet longer than many other artist materials, allowing artists to change colors, textures or shapes. Sometimes, the painter may even remove the entire coat of paint and start a new one. This can be done with a wipe and some turpentine for a while while the paint is wet, but after a while the hardened layer should be scraped off. Oil paints dry due to oxidation, not evaporation, and is usually dry to touch within a span of two weeks (some dry colors in a few days). Generally dry enough to be varnished in six months to a year.
Maps Oil painting
History
Although the history of the tempera (pigment mixed with egg whites or egg yolks, then painted on plastered parts) and related media in Europe shows that oil paintings were found there independently, there is evidence that oil paintings were used earlier in Afghanistan. Surface and shield-like surfaces - whether used in tournaments or hung as decoration - are more durable when painted with oil-based media than if painted with traditional tempera paint.
Most Renaissance sources, especially Vasari, praised northern European painters in the fifteenth century, and Jan van Eyck in particular, with the "invention" of oil-oil paintings on wooden panel support ("support" is a technical term for support underlying, a painting). However, Theophilus (Roger of Helmarshausen?) Clearly gave instructions for oil-based paintings in his treatise, On Various Arts , written in 1125. In this period, it was probably used to paint sculptures, carvings and fittings wood, probably mainly for outdoor use. However, early Netherlandish painting with artists such as Van Eyck and Robert Campin in the 15th century was the first to make oil as a medium of ordinary painting, and explore the use of layers and glaze, followed by the rest of Northern Europe, and only later Italy.
Early works were still painting panels on wood, but around the end of the 15th century canvas became more popular as supporters, because it was cheaper, easier to transport, enabling larger works, and did not require a complicated initial layer of gesso ( fine type plaster). Venice, where the sailing canvas is easily available, is the leader in transfer to the canvas. Small cabinet paintings are also made on metal, especially copper plates. This support is more expensive but very firm, allowing complicated details. Often the print plates of graphic art are reused for this purpose. The popularity of oil spread through Italy from the North, beginning in Venice at the end of the 15th century. In 1540, the previous method of painting on the panels (tempera) has become almost extinct, though the Italians continue to use lime-based fresco for wall paintings, which are less successful and durable in humid northern climates.
Materials
Linseed oil itself comes from flaxseed, ordinary fiber plant. Linen, "support" for oil painting (see relevant section), also comes from flax plant. Safflower or walnut oil or poppyseed oil is sometimes used in formulating lighter shades such as white because they are "yellow" less dry than linseed oil, but they have a bit of slowing slowdown and may not provide the strongest paint film. Linseed oil tends to dry out yellow and can change the color of hue.
Recent advances in chemistry have resulted in modern water-soluble oil paints that can be used and cleaned with water. Small changes in the structure of oil molecules create this water-soluble property.
Support for oil paintings
Traditional artist canvas are made from linen, but less expensive cotton fabrics have gained popularity. The first artist prepares a wooden frame called a "stretcher" or "strainer". The difference between the two names is that the stretchers are slightly adjustable while the filter is stiff and has no adjustable bend angle. The canvas is then pulled across a wooden frame and attached or fastened tightly to the rear edge. Then the artist applies "size" to isolate the canvas from the quality of the acid paint. Traditionally, the canvas is coated with a layer of animal glue (modern painters will use rabbit skin glue) as a size and fitted with lead white paint, sometimes with extra lime. The panels are prepared with gesso , a mixture of glue and chalk.
Modern acrylic "gesso" is made of titanium dioxide with acrylic binder. These are often used on canvas, while the original gesso is not suitable for canvas. Artist may apply several layers of gesso, sanding every fine after dry. Acrylic gesso is very difficult to sand. One manufacturer makes acrylic gesso "polished", but is meant only for panels and not canvas. It is possible to make gesso a particular color, but most gesso purchased in stores are white. The gesso layer, depending on its thickness, will tend to pull the oil paint onto the porous surface. Excessive or uneven layers of gesso are sometimes seen on the surface of the painting so as a change that does not come from paint.
The standard size for oil painting was set in France in the 19th century. This standard is used by most artists, not just France, as it is - and is still supported by a major supplier of artist materials. The size of 0 ( toile de 0 ) for size 120 ( toile de 120 ) is divided into separate "runs" for numbers ( numbers ), landscape payment ) and marine ( marine ) that more or less defend the diagonal. Thus the number 0 corresponds to the height of payment 1 and sea 2 .
Although surfaces such as linoleum, wood panels, paper, slate, pressed wood, Masonite, and cardboard have been used, the most popular surfaces since the 16th century have been canvas, although many artists used panels through the 17th century and beyond. Panels are more expensive, heavier, more difficult to transport, and are vulnerable to warp or splint in poor conditions. For fine detail, however, the absolute solidity of the wood panels has its advantages.
Process
Oil paint is made by mixing the color pigment with the oil medium. Different colors are made, or purchased prematurely, before painting begins, but further color shades are usually obtained by mixing small amounts together while the painting process is in progress. Artist's palette, traditionally a thin wooden board held in hand, is used to hold and mix paint with different colors. Pigments may be any number of natural or synthetic materials with color, such as sulphides for yellow or cobalt salts for blue. Traditional pigments are based on minerals or herbs, but many have proven to be unstable for long periods of time; The appearance of many old paintings today is very different from the original. Modern pigments often use synthetic chemicals. Pigments are mixed with oil, usually linseed, but other oils can be used. A variety of different dry oils, which create various effects.
Traditionally, artists mix their own paint from raw pigments so they are often grounded and medium. This makes portability difficult and makes most painting activities only limited in the studio. This changed in the 1800s, when oil tubes became widely available after the discovery of American portrait painter John Goffe Rand about metal tubes that could be squeezed or folded in 1841 (the birth year of Claude Monet). Artists can mix colors quickly and easily, allowing, for the first time, relatively comfortable air paintings (a common approach in French Impressionism).
A brush is most often used by artists to apply paint, often above the line of their subject's sketches (which can be in other mediums). Brushes are made of various fibers to create different effects. For example, a brush made with sea urchins might be used for bolder strokes and impasto textures. Fitch hair and luwak hair brush are fine and smooth, and thus answer well for portraiture and detail work. Even the more expensive is the red sable brush (civet hair). The best quality brush is called "kolinsky sable"; This brush fiber is taken from the Siberian weasel's tail. This hair has a very smooth point, has a smooth handling, and good memory (it returns to its original point when removed from the canvas), known by the artist as a "snap" brush. Floppy fibers without an instant, like squirrel hair, are generally not used by oil painters.
In the last few decades, many synthetic brushes have been marketed. It's very durable and can be very good, as well as cost efficient. Brushes come in different sizes and are used for different purposes. The type of brush also makes a difference. For example, "spin" is a pointed brush used for detail work. "Flat" brushes are used to apply broad plots of color. "Bright" is a flat brush with shorter brush hair. "Filbert" is a flat brush with rounded corners. "Egbert" is a very long and rare filbert brush. Artists may also apply paint with a pallet blade, which is a flat metal blade. The palette knife can also be used to remove paint from the canvas when necessary. Unconventional tools, such as fabrics, sponges, and cotton, can be used to apply or remove paint. Some artists even paint with their fingers.
Oil painters traditionally apply paint in layers known as "glazes", a method also called "indirect painting". This method was first refined through the adaptation of egg temple painting techniques, and was applied by Flemish painters in Northern Europe with pigments milled in linseed oil. More recently, this approach has been called "mixed technique" or "mixed method". The first layer (underpainting) is placed, often painted with an egg temperature or turpentine-thinning paint. This layer helps to "tone" the canvas and to cover the white gesso. Many artists use this layer to sketch the composition. This first layer can be adjusted before going any further, an advantage over the "cartoon" method used in the fresco technique. After this layer dries up, the artist can then proceed by painting the "mosaic" color swatch, working from the darkest to the lightest. The color border is mixed together when the "mosaic" finishes, and then allowed to dry before applying the details.
Artists in later periods, such as the Impressionist era (late 19th century), are often expanded on this wet-on-wet method, blending wet paint on canvas without following the Renaissance layer and glass approach. This method is also called "alla prima". This method was created because of the emergence of outdoor painting, not in the studio, because when outside, an artist does not have time to let each layer of paint dry before adding a new layer. Some contemporary artists use a combination of both techniques to add bold (wet-on-wet) color and obtain layer depth through glass.
When the drawing is over and has dried up to a year, an artist often seals work with a lacquer layer that is usually made of gum dammar crystals dissolved in turpentine. Such varnishes can be removed without disturbing the oil painting itself, to allow cleaning and conservation. Some contemporary artists decided not to polish their work, preferring an unpolished surface.
Examples of famous works
References
Further reading
- Chieffo, Clifford T.: Contemporary Oil Handbook, Prentice Hall, 1976
- Borchert, Till-Holger. Van Eyck . London: Taschen, 2008. ISBNÃ, 3-8228-5687-8
- The Artist's Handbook of Materials and Techniques , a comprehensive reference book by Ralph Mayer (1940)
Source of the article : Wikipedia
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